Avant-gardism, developed in literature by Vladimir Mayakovsky and Velimir Khlebnikov, has also spread powerfully in Russian painting since the 1910s. As early as the 1910s, Kazimir Malevich (who created the style of Suprematism), Vasily Kandinsky, and Vladimir Tatlin were interested in avant-gardism in Russia. The Russian avant-garde flourished in 1914-1922. What was the avant-garde? Combining abstractionism, constructivism, cubism, Suprematism, and other postmodern movements in painting, he rejected realism, while maintaining an emphasis on the form of objects as such. Thus, Malevich’s Suprematism appeared in the 1910s as a style of writing in the form of combinations of multi-colored planes and simple geometric outlines. Continue reading
Konstantin Somov is one of the representatives of Russian symbolism. The composition of the artist’s style was largely influenced by his training in the Paris Studio Colorassi (1897-1899), it was then that he mastered the lessons of modernity and French Rococo. The scenes of his paintings resemble the gallant balls and masquerades that were characteristic of the past XVIII century. Modernity in his works is mystically connected with the previous era, the genre scenes of his paintings are reminiscences of the past century, his characters vaguely resemble the puppets of Watteau, Boucher and Fragonard, but unlike his predecessors, the artist gives the images a mystical ghostliness rather than elegant refinement. V. A. Lenyashin rightly noted that the origins of Somov “beyond the past days”, much deeper, more hidden: Botticelli, Watteau, Hoffman[.
Ghostly-transparent eroticism, without which Somov could not think of art, then permeates the irreparably spicy pages of the “Book of the Marquise”, and appears (like a Casanova doll) in the naively defiant and mechanically Frank appearance of Columbine. Continue reading
By deliberately exaggerating the image, the artist can lead the viewer away from the surrounding reality into another world that also looks real, but is completely unfamiliar. English artist Stanley Spencer (1891-1959), born in Cookham, drew inspiration from the Christian faith. In many of his paintings, rural residents are shown in modern versions of traditional religious subjects: for example, “Resurrection” (1924-1926). In this picture, the figures are depicted so inflated that it seems as if they are about to fly into the sky.
Although Spencer did not seek deliberate distortion, such examples arouse the viewer’s curiosity. Popular contemporary artist Veryl Cooke (1926) portrays people as incredibly fat to make them look funnier. Continue reading